«Founded, to a large extent, on strategy of a surreal nature where the robotic vs human paradox is elevated to an aesthetic category, INVADER is the 21st century Reiki. Here, every sensory organ is invited to listen to a renewable energy, creating a resonance of the artistic self, which extends the body and the senses.
INVADER provided soundtracks to several games for the Nintendo console (dont know which ones), and turned them into great live performances, where noise almost engulfs the whole aesthetic concept, experiencing great moments of apocalyptic tension and threat, in a constant search for an end (?).
This EP, named Reikai Sounds, is not at all like the animalistic material we can see on the latest live performances (on Japanese ground). If we focus on the body domain, of our still human body, and try a loose comparison with this unavoidable tension between technology and the self-body-entity, then yes, we can easily verify that also our tech-body is dependant on the threat to its own perfection, at least until its total termination the extinction of the vital functions life is a plastic entity which associates the rigorous construction to the variability of expression.  But lets go back to the EP, a work constituted by 7 tracks that, I must confess to you, after watching the performance video, felt like a body massage somewhere in Tibet.
Cascading sounds of extreme purity, structurally well done and with a solid cadency, Reikai Sounds elevates the spirit and controls the mind, like harmonical vibrations on the quest for a vital energy from (to) the Universe. Low rhythm games, with no place for words, but with a place in the soul.»
- Bruno Barros
 SILVA, Paulo Cunha e, O lugar do Corpo, Lisboa, Instituto Piaget, 1999, p. 154.
April 22, 2006 Subject:
A evocatively varied electronic music release consisting of seven untitled tracks that touch several genres - experimental electronica, rhythmic downbeat, ambient, noise, Reggae ... Tracks 1 and 2 are delicately playful experiments in electronic sounds and tones. Track 1 lets high pitched tones and slightly distorted electronics play against a gentle, repetitive rhythmic beat. In track 2, beautiful, deep tones assume the lead role while fuzzy electronics, processed voice samples, and generally noisy ambience play in the background. Track 3 is a evil sounding, minor-keyed, rhythmic composition with dark looped synths and electronics made even more foreboding by the inclusion of unexpected bursts of chimes and a rather wicked sounding sample of a woman laughing. Track 4 is a frenzied, noisy collage of surging waves of electronic noises, metallic-sounding percussion, and other discordant odds and ends. Strangely wavering electronics, percussive elements and muted string playing suggestive of clock-like beats, a creepy bass line, and an unintelligibly processed voice sample give track 5 an eerie atmosphere. Track 6 is a fast upbeat track with explicit Reggae influences but also has moments of experimental chaos with some remarkably processed voice samples. Track 7 is elegant piece of warm, soothing downbeat electronica - a fitting conclusion to this amazing album. -LAJ-